Camille Souter HRHA (b.1929) When the Mist Comes Down Oil on Whatman paper, 78x57cm (30.75x22.5) Signed and dated 1964 Provenance: The Basil Goulding Collection Exhibited: IELA 1964, Catalogue...

Camille Souter HRHA (b.1929) When the Mist Comes Down Oil on Whatman paper, 78x57cm (30.75x22.5) Signed and dated 1964 Provenance: The Basil Goulding Collection Exhibited: IELA 1964, Catalogue No.40 - Two Painters from the Collection of Sir Basil Goulding, Ulster Museum, Belfast, Jan/Feb 1965, Catalogue No.51 - 2 Deeply: One Hundred Paintings by Barrie Cooke and Camille Souter, The Carroll Building, August 1971, Catalogue No.33 - Camille Souter Exhibition, YMCA, Wexford, October/November 1972, Catalogue No.31 - Camille Souter Retrospective, Model Arts and Niland Gallery, Sligo Literature: Camille Souter: The Mirror in the Sea by Garrett Cormican, 2006, Catalogue No.203, illustrated p.260 In 1930 Souter came to Ireland where she attended Glengara Park School, Dun Laoghaire where she attained Honours in art. In 1948 she studied nursing at Guy's Hospital, London. During this period she became ill with tuberculosis, and whilst recuperating in the Isle of Wight she began painting again. It was the illness which led her to be called Camille. She gave up nursing for painting. In 1951, she married Gordon Souter. During the 1950s she travelled through Italy and continued to paint. She came back to Dublin but returned intermittently to Italy. She began to exhibit in Dublin in the late 1950s and since then her work has appeared in numerous group exhibitions. In 1960, she married again and settled in Calary Bog in 1962. She now lives and works in Dublin but spends much of her time on Achill Island. Who better than Sir Basil Goulding, Camille Souter's biggest patron, to give us an insight into the artist? Goulding wrote a short personal piece on each artist that he chose to include in the 1961 Exhibition ''One Man's Meat'', which featured Souter on the cover and which is worth reprinting here over 50 years later: ''Camille Souter is a painter of the most rotund delicacy. It must be very rare for an artist to possess or attain to - and in this case they seem to coincide - powers of unfailing sensitivity as transmitted by techniques of unfailing discrimination - and all without much popular notice. One way of verifying a statement of this extremity is to see the artist's whole stock of paintings: if almost none are exceptions, and they only partial, one may speak. It is intriguing, by the way, to notice how inadequate materials, brown paper, newspaper, spirt -aluminum, printers ink, bicycle enamel, etc. in these few pictures - are powerless to inhibit surely evocative artistry''. Goulding continued collecting Souter’s work, including this one and by 1965, he lent 56 of her works to the “Two Painters” exhibition.

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